For me, this is difficult to wrap my head around. I think there are few things that contribute.
First, the piece has a lot of mechanical errors — spelling and grammar and so on. A lot of sentences that seem to just amble on without much direction too that would be served by breaking them up. Additionally, you make some formatting decisions, particularly when the radio voice is speaking, that make it really unclear to me exactly who is speaking/what is being said/how it is being said. An example:
As we speak you and (shuffling) -Greg- WOOH, 30 thousand other people, good job Greg, are tuned in to channel English of The Tongue.
This is really difficult to read and parse. I think I have it figured out, but changing the formatting and punctuation of the sentence to something like:
As we speak, you and…. let's see here, where are we at now, Greg? Whoa, thirty thousand other people, Greg, good job! You and thirty thousand other people are tuned into Channel English of The Tongue.
This would be clearer, if this is the action you were going after. There are simply too many issues like this throughout the piece for me to go line-by-line for fixes right now — I'd recommend spending a bunch of time combing it over, reading it out loud, and comparing it to other pieces that use conversation and dialogue to make it more clear and polished.
All of the mechanics aside, I'm also confused on exactly what is happening. I get that it represents me tuning into this bizarre radio show by the Serpent's Tongue, and that there's some sort of moon calamity? But I don't know exactly how it all works, or why the Serpent's Tongue is doing this, exactly, or what the significance of 60 million listeners is. I think you should make a greater effort to be transparent about the core of what the piece is really about. A little mystery is good, but too much is obfuscating, and I think you cross that line here. The obfuscation also makes a lot of elements of the piece seem random (talking about the show being staffed by wizards, the magical weather report, etc). It's not clear why those things are occurring on the broadcast.
As a final note, second person is notoriously difficult to execute. There were many times through this read that I was taken out of my suspension of disbelief because the reactions of the person in the story ran so counter to any feelings that I personally had about the work. This is bound to happen sometimes with second person, because you aren't me and you can't write from my perspective, but when combined with some of the random-feeling elements of the broadcast, it's really jarring. For instance:
Though you think that inserting such information like wizard radio employees is a bit of a quick development it definitely is exciting and if there are 30,000 other listeners this must be cool, maybe some sort of winter special event.
I don't think it's exciting — I think it's random. Why are the radio hosts talking about being "fucking wizards"? For second person to work, you really have to be evocative, and you either need to lock in how you expect the reader to genuinely feel about developments in the work, or (an easier route) you have to establish better who the "you" character really is and why they might respond to things in a certain way.
I also highly recommend reading Midnight Ride Radio on this very wiki — it isn't doing exactly the same thing as this piece, but the framing device is similar and it does a lot of great stuff with second person.
